baroque

In a bleak adaptation of Diderot’s novel completed in 1780, a family from the petty aristocracy dooms their daughter Suzanne to a life in the church to which she openly does not consent. She’s apparently drugged before taking her vows (which she later does not remember), and her first convent is run by a sadistic Mother Superior who is bent on crushing Suzanne through starvation and psychological torture. A lawyer intervenes, and Suzanne is transferred to another (less strict) convent, only to the sexual obsession of the abbess. Another rescue attempt by a priest turns into yet another nightmare as he attempts to rape her. She escapes, but is unable to support herself except through work as a prostitute, leading her to throw herself off a balcony at the very end of the film. (This flick is no way, shape or form, an uplifting watch.)

Musically, it’s interesting to hear how conscious Rivette’s team was of historical specificity with regards to 18th Century French music (especially for a film made in 1966). One can hear the famous “Jod” sequence from Couperin’s Troisieme leçon de ténèbre as Suzanne describes Holy Week celebrations, and the passage of time in various abbess’s chambers include the playing the spinet, where we hear two nuns playing Rameau’s Le rappel des oiseaux.

Direction: Jacques Rivette
Music: Jean-Claude Éloy
Starring: Anna Karina, Liselotte Pulver